DOI issue:
Nr. 187 (October 1908)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20965#0088
Studio- Talk
Until 1890 M. Morbelli had devoted himself to
genre subjects, after the Lombardian fashion. He
was born in 1853 at Alexandria, but he followed
all the classes at the Milan Academy. In his
early manner are his Intemp'erance, Fil de Soie, and
Goethe mourant. But already he was benefiting
greatly by the transparency obtained by means of
fluid colours, and in La Gare de Milan, in Derniers
jours, and particularly in Le Viatique—■which is to
be seen in the Rome Gallery—one can distinguish
his earliest advance in the direction of discovering
the mystery of light. The outlines in these works
are as though edged with red tones in the upper
portions and blue-green tints in the lower. Next
he began to grind his own colours, to study
and prepare his varnish ; thereafter came his
“ divisionist ” technique, which may be called the
result of a number of little intersecting lines,
somewhat in the manner of the old eaux-fortes.
In the Trivalzio hospice, an ancient charitable
foundation in Milan, where poor old men obtain
shelter, Morbelli made some interesting studies,
resulting in a whole series of little pictures represent-
ing characteristic scenes in their life, such as the one
reproduced below. One of the most melancholy
of these pictures, entitled Jour de Fête, is among
the few Italian pictures which for six years past
have been displayed in the Luxembourg Gallery.
As a pendant to this we have Le Noël de ceux qui
sont restés dans l’hospice—the Christmas of the
friendless. The naïve sincerity of the artist finds
most charming expression in this patient, meditative
technique, which causes us—even the most short-
sighted—to forget the apparent mechanism. M.
Morbelli’s latest efforts are directed towards
portraits and sea-scapes. But in his work there
is always something of the imfrrêvu.
Giuseppe Pelizza was born in 1868 at Volpedo,
a little village in Piedmont, where he has spent the
greater part of his life, amid humble surroundings
favourable to the development of his exquisitely
poetical temperament. Moreover, he has acquired a
culture wide and almost classical ; he attended no
academy, but discovered the art of assimilating the
various styles in the course of his brief sojournings
in Florence, Milan and Turin. It was not long,
however, before he became attracted by the “di-
visionist ” technique. One of his earliest works
—exhibited in 1892 at Genoa, where it won a
prize—already displayed traces of this method,
but only in parts. This picture—Le Mammine—
was also a revelation of his peculiar conception of
life — at once tender and, one may say, almost
spring-like in its freshness. Indeed the Mammine
may be classed with La. Frocessione — children
Until 1890 M. Morbelli had devoted himself to
genre subjects, after the Lombardian fashion. He
was born in 1853 at Alexandria, but he followed
all the classes at the Milan Academy. In his
early manner are his Intemp'erance, Fil de Soie, and
Goethe mourant. But already he was benefiting
greatly by the transparency obtained by means of
fluid colours, and in La Gare de Milan, in Derniers
jours, and particularly in Le Viatique—■which is to
be seen in the Rome Gallery—one can distinguish
his earliest advance in the direction of discovering
the mystery of light. The outlines in these works
are as though edged with red tones in the upper
portions and blue-green tints in the lower. Next
he began to grind his own colours, to study
and prepare his varnish ; thereafter came his
“ divisionist ” technique, which may be called the
result of a number of little intersecting lines,
somewhat in the manner of the old eaux-fortes.
In the Trivalzio hospice, an ancient charitable
foundation in Milan, where poor old men obtain
shelter, Morbelli made some interesting studies,
resulting in a whole series of little pictures represent-
ing characteristic scenes in their life, such as the one
reproduced below. One of the most melancholy
of these pictures, entitled Jour de Fête, is among
the few Italian pictures which for six years past
have been displayed in the Luxembourg Gallery.
As a pendant to this we have Le Noël de ceux qui
sont restés dans l’hospice—the Christmas of the
friendless. The naïve sincerity of the artist finds
most charming expression in this patient, meditative
technique, which causes us—even the most short-
sighted—to forget the apparent mechanism. M.
Morbelli’s latest efforts are directed towards
portraits and sea-scapes. But in his work there
is always something of the imfrrêvu.
Giuseppe Pelizza was born in 1868 at Volpedo,
a little village in Piedmont, where he has spent the
greater part of his life, amid humble surroundings
favourable to the development of his exquisitely
poetical temperament. Moreover, he has acquired a
culture wide and almost classical ; he attended no
academy, but discovered the art of assimilating the
various styles in the course of his brief sojournings
in Florence, Milan and Turin. It was not long,
however, before he became attracted by the “di-
visionist ” technique. One of his earliest works
—exhibited in 1892 at Genoa, where it won a
prize—already displayed traces of this method,
but only in parts. This picture—Le Mammine—
was also a revelation of his peculiar conception of
life — at once tender and, one may say, almost
spring-like in its freshness. Indeed the Mammine
may be classed with La. Frocessione — children